Application Brochure - Academy of Vocal Arts

Transcription

ACADEMY OF VOCAL ARTS
2016–2017
APPLICATION FOR ADMISSION
DEAR PROSPECTIVE RESIDENT ARTIST,
TABLE OF CONTENTS
Since its founding in 1934 by Helen Corning Warden, AVA has produced generations of successful
Faculty, Staff, and Board
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opera singers. AVA’s four-year program is unique, not only because it is a fully tuition-free institution
Faculty and Guest Artist bios
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Training Program
Welcome to the Academy of Vocal Arts—the nation’s premiere post grad opera training program.
that focuses solely on operatic training, but also because it has established a niche as an organization
that produces opera. More important to you, the artist, AVA is the only opera training program that
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gives you the opportunity to learn and perform leading roles in fully staged performances with a
professional orchestra—in contrast to other programs where you may understudy leading roles and
General Information, Policies,
and Regulations
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About the Artist Diploma
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Entrance Requirements
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Application Form
perform smaller roles.
As one of the top opera training programs in the world, AVA attracts an international cadre of
emerging artists who seek to develop their extraordinary gifts in order to pursue careers on the stages
of the world’s great opera houses.
The Academy of Vocal Arts is ideally located in the elegant and vibrant Rittenhouse Square
neighborhood of Philadelphia. AVA’s Resident Artists live and study in this area, rich with art galleries,
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historic sites, theaters and nightlife. Philadelphia is also conveniently close to New York, with
inexpensive and reliable public transportation available.
Each of the twenty-five to thirty Resident Artists at AVA receives extensive one-on-one training with
AVA’s renowned faculty, and will have the opportunity to perform leading roles in any of AVA’s fully
staged operas, plus numerous concerts and recitals, each year. Repertoire is carefully chosen to
prepare individual artists for roles they will continue to perform throughout their careers. Those who
Contact Amanda Edelman, Director of Marketing and Public Relations, for photo credits.
are accepted into the program receive training equivalent to more than $100,000 per year. A
faculty of individuals who are among the finest in their fields provides intensive training in voice,
stage techniques, stage combat, repertoire, languages, and other related subjects necessary for an
operatic career.
Over the past eighty years, outstanding singers of international opera have attended AVA,
including Joyce DiDonato, James Morris, Ruth Ann Swenson, Bryan Hymel, Angela Meade, Stephen
Costello, Michael Fabiano and Ailyn Perez. AVA singers have been honored with eight Richard
Tucker Awards and four of nine Beverly Sills Artist awards from The Metropolitan Opera. In
2014-2015 three AVA singers were recognized by the Metropolitan Opera National Council
Auditions including a National Winner, Grand Finalist and National Semi-Finalist. AVA Resident
Artists also received Top of First Prize awards from the Licia Albanese-Puccini Foundation, the George
London Foundation, the Loren L. Zachary Society and the Gerda Lissner Foundation.
As you consider your postgraduate options, I encourage you to consider the Academy of Vocal
Arts. AVA offers you challenges and opportunities not to be found in any other opera training
program—a program uniquely tailored to you.
Sincerely,
K. James McDowell
PRESIDENT AND ARTISTIC DIRECTOR
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2 0 1 6 – 2 0 1 7 A P P L I C AT I O N F O R A D M I S S I O N
ADMINISTRATION
K. James McDowell
President and Artistic
Director
CHAIRMAN
OF THE BOARD
Rick Pitcairn
VICE CHAIRMAN
Susan E. Kane
Robert W. Lyon
Director of Institutional
Advancement
VICE CHAIRMAN
Lucinda S. Landreth
VICE CHAIRMAN
AND TREASURER
Harold (Rick) Pitcairn II
Susan L. Mock, CPA
Chief Financial Officer
Richard A. Doran
Director of Marketing
and Public Relations
VICE CHAIRMAN
AND SECRETARY
Martha R. Hurt
MEMBERS
Dr. Romeo Abella
R. Randolph Apgar
Dr. Claire Boasi
Robert W. Bogle
Kay Bossone
Stephen Costello
Kristin Davidson
Barbara M. Donnelly
Bentivoglio
Kevin Frost
Peter G. Gould
I. Gail Howard
Nancy Fabiola Herrera
Martin G. Janowiecki
Sandy Leopold
Leon L. Levy
Jim McClelland
Joseph McGuire, Esq.
Mario Mele
John A. Nyheim
Thomas O'Rourke
Dr. Scott Richard
Corey Smith
Ann R. Stephenson
Walter M. Strine Jr., Esq.
Richard Troxell II
P. Jeffrey Warden
Charlotte Watts
EMERITUS BOARD
Dr. Elizabeth M. Bowden
Dr. Raymond Friday
Dr. Rosalie Burns Goldberg
Adele S. Hebb
Jules L. Merron
Francis J. Palamara
Laren Pitcairn
Edith A. Reinhardt
Franca C. Warden
HONORARY BOARD
Jeannine B. Cowles
Bill Buddendorf
Box Office Manager
Daniel M. Pantano
Special Events and
Community Relations
Valentín Fernández
Business Manager
Val J. Starr
Dean of Students
José Melendez
Assistant to the Music
Director/Librarian
Camille M. Mola
Development and
Communications Manager
John Lane
Administrative Associate
Samantha Van Adelsberg
Project Coordinator
and AVA Young
Professionals Manager
Rebecca Carr
Coordinator for
Opera Outreach
Ludmila Caspi,
Accounting Associate
OPERA
PRODUCTION STAFF
K. James McDowell
Producer
Jonathan Oehler
Production Manager
Allen G. Doak, Jr.
Technical Director &
Lighting Designer
Peter Harrison, Set Design
Val J. Starr,
Wig & Costume Design
Janice Manser,
Properties Master
Natalie Kidd
Makeup Design
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FACULTY
Christofer Macatsoris,
Jeannine B. Cowles
Music Director Chair
MASTER VOCAL
COACHES
David Antony Lofton
Danielle Orlando
Richard A. Raub
VOCAL COACHES
Luke Housner
Ghenady Meirson,
(Russian Repertoire)
Audrey Saint-Gil
VOICE INSTRUCTORS
Bill Schuman
William Stone
Benita Valente
Florence Quivar
CLASS INSTRUCTORS
Annick Tanguy Applewhite
French
Ennio Brugnolo
Instructor in Italian
Charles Conwell
Stage Combat
Debra DeVries, ESL
Gudrun von Auenmueller
German
Thor Eckert
Professional Develoment
Valentín Fernández
Spanish
Lisa Lovelace
Stage Movement
Nic Muni
Acting and Stagecraft
RESIDENT ARTISTS
2015-2016
Avetisyan, Anush
soprano
Barraza, Karen
soprano
Bybee, Jared
baritone
Cammarota, Marco
tenor
Chenes, Dominick
tenor
Costa-Jackson, Marina
soprano
Courville, André
bass-baritone
DeVita, Allegra
mezzo-soprano
Dominguez, Meryl
soprano
Espino, Jorge
baritone
Hacker, Jonas
tenor
Kent, Alasdair
tenor
Ludwig, Hannah
mezzo-soprano
Ma, Huanhuan
soprano
Milholin, Nathan
bass-baritone
Nowakowski, Alexandra
soprano
Noyola, Daniel
bass-baritone
Piña, Armando
baritone
Bob Rowland
Opera History
Rusche, JoAna
mezzo-soprano
Robert Thayer Sataloff,
M.D., D.M.A.
Head of Voice Science
Department
Salas, Galeano
tenor
ACCOMPANISTS
Elise Auerbach
José Meléndez
Michele Marie Scanlon
GUEST STAGE
DIRECTORS
Jeffrey Buchman
Tito Capobianco
Dorothy Danner
DEPARTMENT OF
VOICE SCIENCE
Robert Thayer Sataloff,
M.D. D.M.A.
Schenck, Alexandra
mezzo-soprano
Schneider, Anthony
bass
Simpson, Ethan
baritone
Vasquez, Vanessa
soprano
White, Matthew
tenor
Whitney, Mackenzie
tenor
Whitson-Martini, Anthony
baritone
FA C U LT Y A N D G U E S T A R T I S T S
K. JAMES McDOWELL
CHRISTOFER MACATSORIS
President and Artistic Director
Jeannine B. Cowles Music Director Chair
Texas native K. James McDowell
attended Furman University as
a chemistry major before
beginning his musical career as
an apprentice with Santa Fe
Opera. He graduated from the
Curtis Institute of Music, and
attended the Academy of Vocal
Arts, where he performed
numerous leading baritone roles.
Mr. McDowell then began work
on a master of business administration in management and finance
at Temple University, and returned to AVA as concert manager and
director of public relations. One year later, AVA’s board of directors
appointed him to the position of executive director upon Dino
Yannopoulos’ retirement.
Maestro Macatsoris began his
conducting career in Italy at the
Conservatory in Milan. He went
on to study conducting privately
with such famed maestri as
Fausto Cleva, Max Rudolf,
and Tullio Serafin, and studied
composition
with
Vincent
Persichetti. Among his many
performance credits are appearances with Philadelphia Lyric
Opera Company, Pennsylvania Opera Company, San Francisco
Opera Center, and numerous American regional opera companies.
In 1970 Max Rudolf invited him to the Curtis Institute of Music, where
he taught and conducted for seven years.
Under Mr. McDowell’s guidance and direction, AVA has expanded
its reputation as a training and performing arts institution, noted for
both its artistic excellence and financial stability. He has overseen the
expansion of the facilities to include two adjacent buildings, adding
many new teaching and practice studios, as well as a new expanded
library. Mr. McDowell established AVA’s fellowship program, which
provides every resident artist with a living stipend. He also greatly
increased the number of performances in the greater Philadelphia
area, allowing for more performance opportunities for resident artists.
While at the helm of AVA, Mr. McDowell has maintained
a busy schedule of lieder and oratorio performances throughout
the Delaware Valley, including recitals with his wife,
mezzo-soprano Suzanne DuPlantis.
Mr. Macatsoris was the music director of the weekly NBC-TV
program, Opera Theatre, and was music director and conductor for
two seasons with the Opera at Ambler Festival. As a pianist, he
toured with Metropolitan Opera singers in recital programs.
As music director of the Academy of Vocal Arts since 1977, he
has led critically acclaimed performances of Puccini’s ll trittico and
Madama Butterfly, Mozart’s Don Giovanni and Die Entführung aus
dem Serail, and Britten’s Albert Herring, which was broadcast on
PBS. In addition, many operas received their Delaware Valley
premieres at AVA under his baton, including Mozart’s Idomeneo and
La finta giardiniera, Handel’s Deidamia, Strauss’s Capriccio, Verdi’s
Un giorno di regno, Puccini’s Edgar, Richard Wargo’s A Chekhov
Trilogy, and recently, Respighi’s La fiamma. A champion of modern
day composers, Mr. Macatsoris has premiered many new operas,
always encouraging and supporting living composers.
In addition to engagements in Europe, Mr. Macatsoris has
conducted in many regional American houses. He has been on the
conducting staff of San Francisco Opera Company and on the
faculty of Johns Hopkins University. He is in great demand as a
lecturer and for master classes, and has conducted them at major
universities, including Tulane University, Loyola University New
Orleans, and the University at Buffalo SUNY. He frequently serves as
a panel judge for the Metropolitan Opera National Council
Auditions. Mr. Macatsoris consistently earns high praise for his
interpretive abilities and total commitment to excellent opera theater.
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VO I C E I N S T R U C TO R S
BILL SCHUMAN
BENITA VALENTE
Internationally acclaimed voice teacher Bill Schuman is a native of
Portland, Oregon. He began his voice studies with B. Gibner King,
the noted coach of Ezio Pinza and Margaret Harshaw, among others.
While attending Brigham Young University, he studied with Madame
Margaret Woodward, a protégéé of Amelita Galli-Curci. After
graduation from BYU, Mr. Schuman continued his studies with Rita
Streich at the Conservatory of Music in Vienna.
An internationally celebrated interpreter of lieder, chamber music,
and oratorio, Benita Valente is equally acclaimed for her performances on the operatic stage. In recent seasons, Ms. Valente is increasingly sought after as a Master Teacher. She has served as the Master
Artist at the Cincinnati Conservatory program in Lucca, Italy, and the
Florence Voice Seminar in Florence; as well as the European Mozart
Academy in Poland and at Ravinia’s Steans Institute for Young Artists.
She also has served as Master Teacher with the Metropolitan Opera
Lindemann Young Artist Development Program. She has given master
classes under the auspices of the Aspen Music Festival, the Atlanta
Symphony Chorus, Chautauqua Opera, Music Academy of the
West, the Napa Valley Symphony, Opera Festival of New Jersey,
Pittsburgh Opera, San Francisco Performances, Santa Fe Opera, and
the Santa Fe Chamber Music Festival. She also has given master
classes at Boston University, Cornell University, the Curtis Institute of
Music, The Juilliard School, Manhattan School of Music, Temple
University, the University of Alabama at Tuscaloosa, the University of
New Hampshire, the University of Wisconsin at Madison, and for
the National Association of Teachers of Singing. She has
participated on the jury of the Alice Tully Vocal Arts Debut Recital at
The Juilliard School, the Astral Foundation in Philadelphia, the
International Schumann Competition in Zwickau, the Walter W.
Naumberg Foundation, Young Concert Artists, and the Hugo Wolf
Akademie Competition in Stuttgart. Ms. Valente serves on the Board
of Directors of Joy in Singing, the Marilyn Horne Foundation and the
Walter W. Naumberg Foundation.
He then moved to Los Angeles, where he began an intensive
apprenticeship with the famed vocal pedagogue, Luisa Franceschi,
who was a protégée of Luisa Tetrazzini and Pietro Mascagni. Mr.
Schuman established his studio in New York City and in the years
since, many of his students have been heard in the world’s greatest
opera houses, Broadway and West End theaters, motion pictures,
and in countless operatic and musical theater recordings. In 1998 Mr.
Schuman was honored by Opera News when they selected him to be
the subject of their first interview for their new column, “Voice Talk.”
Mr. Schuman has been a member of the voice faculty of AVA since
1987, and has given master classes throughout the United States
and Europe.
WILLIAM STONE
In addition to his career as an opera singer, concert artist, and
recitalist, Mr. Stone’s teaching experience includes master classes
across the United States and in Europe, as well as positions with the
Opera Theater and Music Festival of Lucca, Italy, and the University
of Illinois.
Mr. Stone has sung extensively in the major opera houses of
Europe and especially in Italy, having twice opened the May Festival
in Florence as Wozzeck and as Orestes, in Gluck's Iphigénie en
Tauride under Riccardo Muti. His creation of the role of Adam for the
Lyric Opera of Chicago's world premiere of Penderecki's Paradise
Lost was followed by his debut at La Scala in its European premiere.
His North American opera engagements include the Metropolitan
Opera, in Moses und Aron, Wozzeck, La traviata, Sly, Die
Fledermaus, Romeo et Juliette, Lucia, and Madama Butterfly, and the
New York City Opera, as the Count in Le nozze di Figaro and the
title roles in new productions of Hindemith's Mathis der Maler and
Busoni's Doktor Faust.
As a concert artist, Mr. Stone has appeared with every major
orchestra in the country, including the New York Philharmonic, under
Kurt Masur, and the Boston Symphony Orchestra, under Seiji
Ozawa. His long relationship with Robert Shaw resulted in two
Grammy Award winning recordings.
Equally at home on the recital stage, Mr. Stone considers his many
performances of Wolf's Italienisches Liederbuch with Benita Valente
and David Golub among the most memorable.
Mr. Stone joined the Academy of Vocal Arts as a visiting guest
artist in 2009, and joined the faculty in 2010.
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FLORENCE QUIVAR
Philadelphia native Florence Quivar is an American operatic mezzosoprano who was considered to be “one of the most prominent
singers of her generation.”
She enrolled in the Philadelphia Academy of Music, attended the
Julliard School and studied privately with Marinka Gurewich in New
York City and with Maureen Forrester in Philadelphia where she
began to focus in on lieder and oratorio repertoire. She made her professional recital debut in Philadelphia in 1976 as part of the Franklin
Concert Series. That same year, she won the Baltimore Lyric Opera
Competition and then returned to New York where she won the
Marian Anderson Award. These competition wins drew the attention
of noted impresario Harold Shaw and quickly led to engangements at
the Metropolitan Opera and orchestras throughout the United States.
Quivar's other opera credits include performances at the Deutsche
Oper Berlin, Bavarian State Opera, La Scala, Teatro la Fenice,
Teatro dell'Opera di Roma, the Theatro Municipal in Rio de Janeiro,
Teatro Colón, Royal Opera at Covent Garden, Houston Grand
Opera, Seattle Opera, and Los Angeles Opera among others. She
has also performed with many of the world's premiere orchestras,
including the New York Philharmonic, Los Angeles Philharmonic,
Cincinnati Symphony, Chicago Symphony Orchestra, Philadelphia
Orchestra, Cleveland Orchestra, San Francisco Symphony, Toronto
Symphony, Orchestre de Paris, Berlin Philharmonic, London
Philharmonic, Montreal Symphony and the BBC Symphony Orchestra
to name just a few.
Quivar remained active in opera performances until the
mid-2000s, when she retired from the operatic stage. She remains
active as a concert and recital performer. She joined the staff of the
Academy of Vocal Arts in 2014.
VO C A L C OAC H E S
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DAVID ANTONY LOFTON
DANIELLE ORLANDO
Master Vocal Coach
Master Vocal Coach
David Antony Lofton is a native
Philadelphian and a graduate of
the Curtis Institute of Music,
where
he
studied
piano
accompanying with Dr. Vladimir
Sokoloff. While at Westminster
Choir College, he developed his
choral conducting skills and studied the organ. He has served as
artistic director of Opera North
(Opera Ebony) and as conductor
of La traviata, Les Contes d’Hoffmann, Faust, L’elisir d’amore, Die
Zauberflöte, Susannah, and Der Vampyr for Mozart & Friends Opera
Company. While at Curtis, he was the accompanist and vocal
coaching apprentice of the late Todd Duncan for eight years.
Mr. Lofton has been a recital collaborator for many renowned
singers, including Stephen Costello, Aylin Pérez, Marietta Simpson,
Angela Brown, Indra Thomas, Wilhelmenia Fernandez, Nancy
Fabiola Herrera, Eglise Gutiérrez, Burak Bilgili, John Packard, and
Othalie Graham. He has also served as coach and accompanist for
the Luciano Pavarotti International Voice Competition and participated
in the Festival dei Due Mondi in Spoleto, Italy, where he was
assistant conductor for televised productions of Carmen and Amahl
and the Night Visitors, staged by the composer Gian Carlo Menotti
himself. Mr. Lofton has performed as a pianist in both solo and
chamber music performances. He appeared as piano soloist in
Beethoven’s Choral Fantasy with the New Jersey Master Chorale.
He has conducted full concerts of operatic and symphonic music,
including one with the famed Harlem Boys Choir at Carnegie Hall
and Hansel and Gretel with the University of Minnesota at Duluth.
Prior to joining the AVA faculty, he began a ten-year period as
faculty member of the Curtis Institute of Music and was also on the
faculty at the Combs College of Music. Aside from being a conductor
and accomplished pianist, Mr. Lofton has composed Spanish music
for television commercials and served as a vocal consultant for Sony
Recordings. He has conducted the Mozart and Faure Requiems and
was pianist for numerous recitals at Neumann University. Three times
he was chosen to conduct “Opera on the Square” for Sunoco’s
Welcome America Celebration. In 2010 Mr. Lofton made his debut
with Opera Delaware conducting Puccini’s La bohème. He is Music
Director of St. Paul’s Episcopal Church of Elkins Park, which presents
a series of recitals each year with AVA artists.
David Antony Lofton has been the exclusive Music Director and
Conductor of AVA’s Jubilate for over a decade.
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Danielle Orlando is enjoying an
active career asaccompanist to
many international opera singers as
well as serving as a distinguished
vocal coach and artistic consultant
to several prestigious organizations
throughout the musical world. She
is Principal Coach of Curtis Institute
of Music and Master Coach for the
Academy of Vocal Arts in
Philadelphia.
Ms.Orlando has been seen on Good Morning America, Live with
Regis and Kathie Lee, Live by Request on A&E and The Rosie
O’Donnell Show accompanying celebrities Luciano Pavarotti, Andrea
Bocelli and Michael Bolton.
Ms. Orlando collaborated with Luciano Pavarotti as
accompanist, judge and artistic coordinator for the Luciano Pavarotti
International Voice Competitions and spent nine seasons in Spoleto,
Italy working with Gian Carlo Menotti for the Festival dei Due Mondi.
She was Artistic Administrator and Head of Music Staff for Opera
Philadelphia for many years and has served on the music staffs of
numerous opera companies, festivals, and young artist programs
around the world including the Metropolitan Opera, San Francisco
Opera, Washington National Opera, Teatro Colon in Buenos Aires,
Semperoper in Dresden and Savonlinna Opera Festival. She is
presently a guest coach for WNO’s Domingo-Cafritz Young Artist
Program, Palm Beach Opera Young Artist Program and a guest judge
for the Metropolitan Opera National Council Auditions.
Past and upcoming collaborations include recitals with Marcello
Giordani, Angela Meade, Stephen Costello, Ailyn Perez, Luis
Ledesma, James Valenti, Michael Fabiano, Aprile Millo, Alessandra
Marc, Kallen Esperian, Eglise Gutierrez, Burak Bilgili and Eric
Owens.
Ms. Orlando has performed in the Supreme Court of the United
States with tenor Marcello Giordani and again with tenor Stephen
Costello and soprano Ailyn Perez. She also performed for the
Harriman-Jewell Series, Peralada Festival in Spain, The Schubert
Club, Vocal Arts DC and Festival Classique des Hautes-Laurentides
RICHARD A. RAUB
Master Vocal Coach
Richard A. Raub was born,
raised,
and
studied
in
Southeastern PA. For over three
decades he has played an
influential part in shaping the
musical color and flavor of
Philadelphia audiences, and
beyond.
Mr. Raub’s piano studies with
Benjamin Whitten at West
Chester University and Martin
Katz in New York City prepared him well for the demands of
accompanying singers and playing opera orchestral reductions. He
has been fortunate to collaborate with AVA alumni for their recital
debuts, including Latonia Moore and Stuart Neill (Opera Orchestra
of New York), Wanda Brister (Carnegie Hall), John Packard (Ravinia
Festival), Richard Troxell (Salem College and Penn State University),
Stephen Costello (The University of the Arts Graduation), and Angela
Meade (Astral Artists).
With AVA, his conducting credits extend to include Dido and
Aeneas, Così fan tutte, Don Pasquale, Hansel and Gretel, Die
Fledermaus, Puccini’s Le villi, and Richard Wargo’s The Music Shop.
And of course, the world-premiere of Margaret Garwood’s The
Scarlet Letter at the Merriam Theatre.
For over twenty-five years, Mr. Raub has served as the official
pianist for The Metropolitan Opera National Council Auditions in the
Philadelphia District, as well as for the Mid-Atlantic Regionals which
take place at The Kennedy Center. For four summers, Mr. Raub has
coached at The Crested Butte Music Festival in Colorado, where he
conducted Bellini’s I Capuleti e i Montecchi.
LUKE HOUSNER
Vocal Coach
A
native
of
western
Massachusetts, Luke Housner
earned a Master of Music in
Vocal
Accompanying
and
Coaching from the University of
Illinois in Champaign-Urbana,
where he studied with internationally acclaimed vocal coach
John Wustman. He received his
Bachelor of Music, with a double
major in Piano Performance and
Vocal Accompanying, from the Oberlin Conservatory of Music.
has done the same with Strauss’ Arabella, Capriccio, and Elektra;
Janáček’s Kát’a Kabanová; Barber’s Vanessa; and Wagner’s Das
Rheingold.
Mr. Housner has been engaged as a guest vocal coach at the
Central City Opera Festival in Colorado, Portland Opera’s Young
Artist Studio, Hong Kong’s Academy of Performing Arts, and the Utah
Opera Festival. For over eleven years, he has accompanied the
Philadelphia Singers, the resident chorale of the Philadelphia
Orchestra, where he has performed on various subscription series
concerts as pianist, organist, and harpsichordist. Mr. Housner has
also served as rehearsal pianist and vocal coach for soloists, and has
played under the batons of Charles Dutoit, Christoph Eschenbach,
Wolfgang Sawallisch, Sir Simon Rattle, Sir Andrew Davis, and Kurt
Masur. Mr. Housner joined the faculties of both the Academy of Vocal
Arts and the Curtis Institute of Music in 1996.
GHENADY MEIRSON
Vocal Coach, Russian Repertoire
Born in Odessa, Ukraine,
Ghenady Meirson graduated from
the Santa Cecilia Conservatory in
Rome and the Curtis Institute of
Music, where he studied piano
with
Seymour
Lipkin
and
Mieczyslaw Horszowski, and
accompanying with Vladimir
Sokoloff.
In 1982, Mr. Meirson wrote a
singer’s handbook entitled Do Sing
in Russian and began to focus on Russian vocal repertoire. He
prepared many artists for opera, oratorio, recitals, and recordings,
and helped such organizations as the Philadelphia Orchestra, Opera
Company of Philadelphia, Philadelphia Singers and Mendelssohn
Club Chorus.
In 1996, Mr. Meirson founded PrivateLessons.com, a membershipbased network for independent music teachers. Now a leader in its
niche, the network helps teachers attract private music students across
the United States and Canada.
Meirson's newest project is Russian Opera Workshop, a
summer program based in Philadelphia. It aims to help university voice
and collaborative piano students learn and perform Russian works.
Ghenady Meirson is a faculty member of both the Academy of
Vocal Arts and the Curtis Institute of Music.
Mr. Housner combines vocal coaching with extensive
performing, opera assembling, choral preparation and musical
direction. During the summers of both 2008 and 2009, Mr. Housner
was principal coach and performance pianist for the Astoria Music
Festival in Oregon and then went on to coach and musically direct
productions of Mozart’s Così fan tutte and Le nozze di Figaro for the
Lyric Opera Studio Weimar in Weimar, Germany. During the 2011
/ 2012 season at AVA, he served as music director, principal coach,
and performance pianist for a conductor-less, fully staged production
of Debussy’s Pelléas et Mélisande. In previous seasons at AVA, he
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AUDREY SAINT-GIL
Vocal Coach
A native of France, Audrey Saint-Gil attended the Conservatoire,
National de Musique de Toulouse, where she was awarded three
first prizes with distinction in piano solo, chamber music, and coaching. She continued her doctoral studies at Université de Toulouse, and
graduated with a PhD in Greek philosophy.
She began her career at le Théâtre du Capitôle in Toulouse and
her international career at the Konzerthaus in Vienna, Austria under
the direction of Bertrand de Billy. The same time, she was appointed
Head Vocal Coach of the Ecole Normale de Musique de Paris. Ms.
Saint-Gil made her American debut as assistant conductor with
Michigan Opera Theatre and has since been working with major
Opera houses, such as Sarasota Opera, Martina Arroyo Foundation,
Opera Grand Rapids, Ravinia Festival, Caramoor Summer Music
Festival, Covent Garden, New York City Opera, and LA Opera
(under the direction of James Conlon and Plácido Domingo).
Ms. Saint-Gil has been frequently invited to give master
classes and is also the author of several books on French
diction. She has served as a judge for several major vocal
competitions, including the International Hans Gabor Belvedere
Singing Competition. She was also commissioned to write the film
score for a documentary on James Salter by the Checkerboard Film
Foundation.
Ms. Saint-Gil has collaborated with many renowned opera
singers, such as Erwin Schrott, James Valenti, Burak Bilgili, Eglise
Gutiérrez, Angela Meade, Jennifer Check, Jennifer Larmore, John
Osborn, Stephen Powell, Marian Pop, Plácido Domingo, Julianna Di
Giacomo, Leah Partridge, Talise Trevigne, Deborah Polaski, Tómas
Tómasson, Elisabete Matos, James Creswell, Sondra Radvanovsky,
Marco Berti, Lado Ataneli, Ailyn Pérez, Patricia Bardon, Brandon
Jovanovich, Ildebrando d'Arcangelo, Jane Henschel, Jean-Philippe
Lafont, Francesco Meli, and Marina Poplavskaya.
She is currently the Assistant Conductor of Maestro James Conlon
and Maestro Plácido Domingo at LA Opera.
“ AVA helped me become
more than a singer;
they helped me
become an artist.”
ANGELA MEADE, AVA ’09
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AC C O M PA N I S T S
JOSÉ MELÉNDEZ
ELISE AUERBACH
José Meléndez has been a pianist, coach, accompanist, and
conductor in opera, recitals, and concert work in the United States,
South America, Central America, Asia, and Puerto Rico. As recitalist,
Mr. Meléndez has worked as part of a double piano team with Akiko
Hosaki in Japan, New Jersey, and Minnesota, under the tutelage of
Margo Garret.
Ms. Auerbach has appeared with singers and instrumentalists in such
venues as Weill Recital Hall, Alice Tully Hall, Alys Stevens Performing
Arts Center, and the Kimmel Center. Other performance highlights
include orchestral appearances with the Delaware and Temple
University Symphonies, live broadcasts on Cincinnati Public Radio
WGUC, premieres of new works for keyboard, and numerous
recitals throughout the region. She has participated in and performed at festivals in Japan, Italy, Canada, and the United States,
and toured twice in Germany as part of the Ribbeck/Auerbach violin
and piano duo.
Mr. Meléndez collaborates with soprano Maya Hoover in recitals
of Latin American music throughout the United States and abroad. He
has worked with Opera de Puerto Rico, Teatro de la Opera in Puerto
Rico, Casals Festival, and Indianapolis Opera. As a conductor, Mr.
Meléndez has appeared with the Bay Area Summer Opera Theatre
Institute and Orlando Opera.
Mr. Meléndez collaborates with the Puerto Rico Metropolitan
Opera Council Regional Auditions and has served as a pianist
for the Plácido Domingo International Voice Competition. He has
participated in master classes given by distinguished artists such as
Alfredo Kraus, Pablo Elvira, Mignon Dunn, Eugene Kohn, Licia
Albanese, Sharon Sweet, Robert White, Justino Diaz, Christofer
Macatsoris, Regina Resnik, Renata Scotto, and Dalton Baldwin.
With the Puerto Rico Symphonic Orchestra, Mr. Meléndez has
performed in Haydn’s Concerto for Piano and Orchestra in D Major,
Copland’s Concerto for Clarinet and Orchestra, Manuel de Falla’s
Las noches en los jardines de España and El sombrero de tres picos,
and Holst’s The Planets and Mahler’s Symphony No. 8.
During the summer of 2009, Mr. Meléndez was on the
musical staff of Glimmerglass Opera as the principal coach for their
production of La traviata. He is the music director for Concert
Operetta Theater in Philadelphia, with recent credits including Gems
from the American Opera, Victor Herbert’s Naughty Marietta, and
Kálmán’s Sári.
Mr. Melendez serves as assistant to the music director, music
librarian, and accompanist at the Academy of Vocal Arts.
Ms. Auerbach frequently serves as music director and pianist for
productions by local opera companies, and has been on staff for the
Russian Opera Workshop. She is Principal Pianist for the Princeton
Symphony Orchestra and Symphony in C, and has been a member
of the coaching staff at Temple University’s Boyer College of Music
and Dance for fifteen years. A devoted chamber musician, she is a
founding member of Philalea, a Philadelphia-based chamber ensemble. She holds a Bachelor of Music degree from Temple University
and a Master of Music from the University of Cincinnati CollegeConservatory of Music.
MICHELE MARIE SCANLON
Michele Marie Scanlon received her Bachelor of Music Degree from
the University of Delaware and did graduate work at The Catholic
University of America. Ms. Scanlon has served as assistant musical
director and musical director for Concert OPERA Philadelphia,
Opera New Jersey, Concert Operetta Theatre, and Delaware Valley
Opera. She has worked frequently with The Philadelphia Singers,
The Savoy Company, Philadelphia Chamber Chorus, The University
of the Arts, Temple University, The Jefferson University Choir,
Pennsylvania Opera Theater Concerts Program, and the Philly Fringe
Festival. Ms. Scanlon has produced over seventy-five concerts for the
Opera Gala Series at Tomasello Winery in Hammonton, N.J.
Ms. Scanlon serves on the faculties of The University of the Arts,
Bryn Mawr Conservatory, and the Overbrook School for the Blind,
and has been on the faculty of the Academy of Vocal Arts since
1985.
8
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GUEST ARTISTS
9
TITO CAPOBIANCO
Stage Director
Tito Capobianco, Stage Director, is acclaimed for his ingenious and
versatile treatment of repertory classics, from Baroque to Romantic,
verismo, contemporary, and his updated setting of operas, starting in
1957 with a modernistic version of Puccini’s Tosca. In addition to his
unparalleled and distinctive success with his 24 opera productions at
Lincoln Center in New York City, Capobianco has staged over 250
productions in Europe, Australia, and North and South America for
major opera houses, such as Paris, Berlin, Hamburg, Amsterdam,
Barcelona, San Francisco, Buenos Aires, Mexico City, Sidney,
Spoleto, and the Las Palmas Festival, Spain.
Capobianco’s staging of American world premieres, such as
Ginasteria’s Don Rodrigo and Bomarzo, Menotti’s La Loca, Giannini’s
Servant of Two Masters, Dvorak’s Rusalka, and Chabier’s
Gwendoline, plus numerous new productions, have been hailed as
landmarks in opera history. His production of Boito’s Mefistopheles,
Massenet’s Manon, Handel’s Julius Caesar, and Donizetti’s Lucia di
Lammermoor have continued to form part of the repertoire of these
centers for more than 20 years.
Much of Capobianco’s success as a director may be due to his
first-hand experience with every phase of theatrical art;
he has directed productions of opera, theatre, ballet, and
television, and was a stage and film actor in Argentina. After a trail
of brillant acoomplishments that include the South American
premieres of Stravinsky’s The Rake’s Progress, Prokofiev’s The Love for
Three Oranges, Menotti’s The Saint of Bleecker Street, Puccini’s
modern Tosca, and a new production of Rossini’s La Cenerentola, he
left his postition as Director-Designer-Technical Director of the famous
Teatro Colon of Buenos Aires in 1961 to come to the United States.
During the 1960’s, his collaboration with the soprano Beverly Sills
became legendary. This led to the first televised opera
production from Lincoln Center in New York City with the
production of Rimsky-Korsakov’s Le Coq d’Or, as well as the west
coast production of Franz Lehar’s The Merry Widow in San Diego in
1977. The most talented artists have participated in his productions:
Claudio Abbado, Leonard Bernstein, James Levine, Loren Maazel,
Luciano Pavarotti, Placido Domingo, Richard Tucker, Nocolai
Gedda, Birgit Nilson, Joan Sutherland, Beverly Sills, Monserrat
Caballe, Sherrill Milnes, Tito Gobbi, Cornel McNeil, Shirley Verrett,
Marilyn Horne, Regina Resnik, Norman Treigle, Justino Diaz, and Jose
Van Dam, to name just a few.
•
Throughout his career, Capobiancio has demonstrated his
commitment to the educational needs of young artists. In 1968 he
founded and became General Director of the Opera Center at The
Juliard School of Music in New York City. He created the Opera
Department at the College of Performing Arts in Philadelphia in
1972, The San Diego Opera Center in 1977, and the Pittsburgh
Opera Center in 1986. In the late 1970’s, he established the world’s
first Verdi festival in San Diego, California.
In recognition of his creative work in Italian and French opera
culture, Capobianco has been awarded the Caliere Della Republica
by the Italian government and Officier dans l’Orde des Arts et Lettres
by the French government. He has also been distinguished with
numerous honorary degrees for his extensive community involvement.
Today, Capobianco concentrates exclusively on teaching young
artists in the United States and Europe.
JEFFREY MARC BUCHMAN
Stage Director
Opera News calls director Jeffrey Marc Buchman “a formidable
talent”, and the Miami Herald claims “Buchman has mastered an art
beyond the powers of many directors”. In the last season alone, he
created the world-premiere of Carson Kievman’s new opera
Intelligent Systems, made a return to Indiana University for La
Bohéme, created a new production of Gianni Schicchi and Suor
Angelica for University of Miami, directed Cosi Fan Tutte at the
Brevard Music Festival, Don Giovanni at the Miami Summer Music
Festival, Haydn’s Lo Speziale for the New World School of the Arts,
Manon Lescaut for Mobile Opera, Il Barbiere di Siviglia for Syracuse
Opera and created a ground-breaking multimedia arena event for
the Grand Rapids Symphony that included over 1500 performers
performing with 3-D motions graphics.
In the 2013-2014 season, he created new productions of
La Traviata for Indiana University, La tragédie de Carmen for
Syracuse Opera, Don Giovanni for UCLA, Il barbiere di Siviglia for
the Orlando Philharmonic, La Cenerentola for Green Mountain
Opera Festival, Le nozze di Figaro for the Miami Summer Music
Festival, L'elisir d'amore for Cincinnati Conservatory of Music's
Summer Program and No Exit for Florida Grand Opera, which was
named “One of the best and brightest of 2014” by the Miami
Herald. He also created the world-premiere of Carson Kievman's
innovative chamber opera Fairy Tales: Songs of the Dandelion
Woman. Other recent highlights include his debut with Atlanta
Opera directing Carmen, and a triumphant return to Florida Grand
GUEST ARTISTS
“
Opera for new productions of The Magic Flute and Rigoletto, L'Elisir
d'Amore for Toledo Opera, Romeo et Juliette for Intermountain
Opera, Turandot for Mobile Opera, South Pacific for Anchorage
Opera, Il Trovatore and Faust for Opera Naples, Hansel & Gretel for
Sarasota Opera, Cold Sassy Tree for Sugar Creek Symphony &
Song.
Mr. Buchman's work with young singers has been extensive. He
has directed young artists at Seattle Opera, Florida Grand Opera,
Tulsa Opera, Sarasota Opera, Chautauqua Opera, UCLA,
Cincinnati Conservatory of Music's Summer Program, Brevard Music
Festival, Indiana University, Miami Summer Music Festival and the
New World School of the Arts.
He began his music studies at the Baltimore School for the Arts and
later at the Interlochen Arts Academy. He holds a Bachelor of Music
degree in Opera from the Boston Conservatory of Music and a
Master of Music degree in Voice from the Peabody Conservatory of
Music in his native city of Baltimore, Maryland. He studied German
at the Goethe Institut in Prien am Chiemsee, Germany and Spanish
at the Instituto Cervantes. He trained in the Young Artist Program of
the Florida Grand Opera, where he later was honored with the company's Evelyn P. Gilbert Award, and also in the Studio and
Apprentice Artist Programs of Central City Opera, where he was
awarded their Studio Artist of the Year award. Winner of the prestigious Luciano Pavarotti International Voice Competition, Mr.
Buchman began his work in opera as an acclaimed singer noted for
his ability to merge acting and singing. Other prizes include First
Prize in the National Voice Competition of the National Society of
Arts and Letters and a Richard F. Gold career grant from the
Shoshana Foundation.
DOROTHY DANNER
Stage Director
Noted for her inventive staging, Dorothy Danner has directed nearly
200 productions of operettas, musicals, and plays throughout the
United States, Canada and Belgium, including operas for companies
of Glimmerglass, Houston, Philadelphia, Miami, Cleveland,
Minnesota, Cincinnati, Portland, Kansas City, Virginia and Merola
Opera Program in San Francisco. Her production of A Midsummer
Night’s Dream in New York for The Julliard School garnered wide
critical acclaim, as did her PBS-TV Tribute to Gilbert and Sullivan for
the Boston Pops and her television staging of Richard Wargo’s opera,
Ballymore – the first and only musical setting of a Brian Friel Play.
Ms. Danner has had the honor of staging the premieres of
contemporary composers Barab, Botti, Garwood, Hamlisch,
Harnick, Lloyd, Mechem, Musgrave, Sirotta, and Wargo. She has
also served on the awards panel for the National Music Theatre
Institute and on Opera America’s Panel for New Works.
As a performer, Ms. Danner (aka Dorothy Frank), appeared in nine
Broadway shows, from the original Once Upon a Mattress to
Michael Bennett’s Ballroom. She has performed on numerous TV
Variety shows, including Perry Como, Ed Sullivan, and Mel Brooks’
film The Producers.
A dedicated and inspiring teacher, Ms. Danner was co-founder of
The Glimmerglass Festival Young Artists Program, has served on the
faculties of The Julliard School, the Curtis Institute of Music and the
Chautauqua Institution. She has been a frequent guest director at the
Academy of Vocal Arts in Philadelphia, New York University, Boston
University and Carnegie-Mellon.
AVA offers the venue and opportunity to learn
craft of opera…and to walk on stage
and sing! Every person that has stepped into
the
that brownstone on 1920 Spruce knows the
feeling of
accomplishment
of singing
”
on that stage.
—JOYCE DIDONATO, AVA ‘95
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C O U R S E I N S T R U C TO R S
GUDRON VON AUENMUELLER
German Instructor
Schooled in Cologne, Germany, Gudrun von Auenmueller has taught
German for over 20 years at several continuing education institutions to
beginners, intermediate and advanced adult students, as well as at a
private language learning center in New Jersey.
Upon moving to Philadelphia, she was offered a position as German
teacher at a Waldorf School, where she taught 1st through 8th graders,
including designing individual curricula for all grades.
In the fall of 2012 she accepted the position of German language
teacher at AVA.
ANNICK TANGUY APPLEWHITE
French Instructor
Annick Tanguy Applewhite is a native of Paris, France, where she
received her doctoral degree from the University of Paris. Mrs.
Applewhite has taught at the Sorbonne in Paris and in various
American colleges and universities, including Haverford College, the
University of Pennsylvania, and Swarthmore College, where she has
been teaching for fourteen years. She was a translator for UNESCO in
Paris and an interpreter for both Ministère de la Jeunesse et des Sports
and Office de la Radio et Télévision Françaises in Paris. In 1991 Mrs.
Applewhite translated for Valéry Giscard D’Estaing at The World Affairs
Council in Philadelphia. She has coached French for a production of
Carmen at the Festival dei Due Mondi in Spoleto, Italy, and for a production of Werther at Michigan Opera Theatre in Detroit. Mrs. Applewhite
has been on the faculty of the Academy of Vocal Arts since 1987.
CHARLES CONWELL
Stage Combat
In addition to teaching stage combat for the Academy of Vocal Arts,
Charles Conwell is an associate professor at The University of the
Arts, where he teaches stage combat, script analysis, and directing.
A certified member of the Society of American Fight Directors, he has
directed violence for every professional theater company in
Philadelphia as well as for the Opera Company of Philadelphia and
the Curtis Institute of Music. Mr. Conwell is also frequently employed
at the Hartford Stage Company in Connecticut, where he directed
the fencing match for Hamlet, starring Richard Thomas in the title role.
In 1993 he staged the combat scenes for the Metropolitan Opera’s
premiere ofI Lombardi, directed by Mark Lamos.
Acting and Stagecraft
Nic Muni has directed over two hundred productions in Europe,
Australia, and North America with companies such as San Francisco
Opera, New York City Opera, Canadian Opera Company in
Toronto, Houston Grand Opera, Seattle Opera, Los Angeles Opera,
the Glimmerglass Festival, and the Opera Theatre of Saint Louis. In
Europe he has directed for the Prague National Opera, the Kurt Weill
International Festival, Theater Erfurt, Tiroler Landestheater Innsbruck,
Stadttheater Bern and Stadttheater Giessen. His revival of Jenůfa
at the Canadian Opera Company in 2003 received Canada's
prestigious DORA award for best theater production of the year. In
addition, he has served as Artistic Director for the Tulsa Opera
(1987-93) and Cincinnati Opera (1996-2005). Recent
productions: U.S.stage premiere of Das Liebesverbot at Glimmerglass
Opera; L'amico Fritz and La finta giardiniera at San Francisco
Opera Merola; Carmen at Boston Lyric Opera; Il ballo delle
ingrate/Il combattimento di Tancredi e Clorinda/Trouble in Tahiti at
Portland Opera; Il barbiere di Siviglia at Indiana University;
Cendrillon at Miami University; Cardillac at Opera Boston; U.S.
Stage premiere of El Amor Brujo/La Vida Breve at Manhattan School
of Music; Don Giovanni at Cincinnati College-Conservatory of Music
(CCM); and L'elisir d'amore at the Academy of Vocal Arts in
Philadelphia.
Formerly Artist-in-Residence and Professor of Opera at Cincinnati
College-Conservatory of Music (CCM), he now teaches Stagecraft at
the Academy of Vocal Arts and at Bard Conservatory of Music in the
Vocal Arts Program.
Immediate upcoming projects: Florencia en el Amazonas at Boston
University Opera Institute and Don Giovanni at Opera Philadelphia.
Opera History
Italian Instructor
Ennio Brugnolo is a native of Rome. While studying architecture, he
frequented the Accademia Vocale Tito Schipa in Rome and studied
voice with Maestro Antonio Cappello. In 1960, he was singing in
the Coro Polifonico Romano. By 1962, he started to appear in
comprimario roles in various Italian theaters located in Siena,
Spoleto, Lucca, Cosenza, Marsala, Modena, Bologna, Cagliari,
and Rome with singers like Tebaldi, Scotto, Stella, Gencer, Freni,
Simionato, Cossotto, Nilsson, Moffo, Del Monaco, Di Stefano,
Bergonzi, Luchetti, Pavarotti, Corelli, Siepi, and Ghiaurov, among many
others. He had the opportunity to sing with maestros like Muti, Giulini,
Molinari-Pradelli, Savallisch and, more recently, Rattle and Dutoit.
NIC MUNI
ROBERT ROWLAND
ENNIO BRUGNOLO
11
He attended a “Corso di Perfezionamento” under the
tutelage of Piero Cappuccilli. After moving to Philadelphia in 1970,
he joined the Phialdelphia Opera Chorus and pursued a career as a
Construction Manager initially with Temple University. During that
period of time, he continued to take private vocal coaching with
Nicola Moscona at AVA. He joined the Philadelphia Singers with
Michael Korn in the early 1980’s. He continues to sing occasionally
in the chorus of the Philadelphia Opera Company. In the last few
years he has been teaching Italian language and opera appreciation
courses for adults in NJ schools, and recently joined the faculty of AVA
in January 2014.
•
Robert Rowland is a graduate of the Eastman School of Music, the
Peabody Conservatory, and the Academy of Vocal Arts. As a
master’s candidate at Peabody, he was a student of the late Wayne
Conner, who developed the history curriculum AVA uses today. Mr.
Rowland has lectured on opera at over a dozen local institutions,
including the Curtis Institute, and has been a long time presenter of
the Opera Digest at AVA’s Bucks County performances. He returned
to the AVA classroom in 2011.
C O U R S E I N S T R U C TO R S
DEBRA DEVRIES
ROBERT THAYER SATALOFF, M.D., D.M.A.
ESL
Head of Voice Science Department
Debra DeVries holds a graduate degree in international business from
the University of Michigan and has had a career in
management in international corporate finance. Ms. DeVries received
her Cambridge University certification in ESL instruction in Edinburgh,
Scotland, and has taught English as a second language in Europe
and the U.S. She has taught English at the Academy of Vocal Arts
since 2001.
Dr. Robert Sataloff is a graduate of Haverford College with a degree
in music theory and composition; the Jefferson Medical College, the
Otorhinolaryngology Residency and Neurotology Fellowship of the
University of Michigan; and Combs College of Music (D.M.A. in
Voice). Currently, Dr. Sataloff is professor of otolaryngology at
Jefferson Medical College, Thomas Jefferson University; adjunct
professor in the department of otolaryngology at the University of
Pennsylvania and at Georgetown University; chairman of the
department of otolaryngology at Graduate Hospital; chairman of The
Voice Foundation; and chairman of the American Institute for Voice and
Ear Research. He is also on the faculty of the Curtis Institute of Music.
THOR ECKERT
Professional Development Coach
Author and opera consultant Thor Eckert has been a regular guest
quizmaster on the popular Opera Quiz intermission feature of the
Toll Brothers/Metropolitan Opera International Radio Network
broadcasts since 1988. He was chief music critic of The Christian
Science Monitor for fifteen years. In addition to his work for the
Monitor, he contributed cover stories and other feature articles for
such publications as Opera News, Opera, the New York Times, the
Los Angeles Times, and Business Week. A former artists’ manager,
Mr. Eckert served on numerous judging panels, including the George
London Foundation Awards, the Greater Buffalo Opera International
Competition, the Opera Index Vocal Competition, and the Richard
Tucker Music Foundation (RTMF), for which he served as chairman of
the Juries and Awards committee and continues to serve as a board
member. Mr. Eckert specializes in consulting with young singers on
career development.
Dr. Sataloff is the author of more than five hundred
publications, including twenty-three textbooks, and has lectured
extensively on the voice throughout the world. He is
editor-in-chief of the Journal of Voice and on the editorial boards of
the Journal of Singing, Ear Nose and Throat Journal, and numerous
other professional publications. Dr. Sataloff has also served as
conductor of the Thomas Jefferson University Choir since 1970.
He adds a special dimension to the AVA faculty as the only
otolaryngologist in the United States who is a fully trained
professional singer, voice teacher, and conductor.
VALENTÍN FERNÁNDEZ
Spanish Instructor
A graduate of the University of Puerto Rico and the Academy of Vocal
Arts, Valentín Fernández is included in the book 150 Years of
Zarzuela in Puerto Rico and Cuba. Besides singing the
premieres of several works by Puerto Rican and Cuban
composers, he has an extensive song repertoire. Mr. Fernández is also
an experienced translator, diction coach, and Spanish instructor.
He has served as a bilingual/bicultural consultant for several
organizations.
LISA LOVELACE
Stage Movement and Dance
Lisa Lovelace received her Master of Fine Arts in Choreography and
Performance from Temple University. In her seventeen years as a
professional dancer, teacher, and choreographer in the Philadelphia
area, Ms. Lovelace has traveled the world with her husband,
internationally acclaimed opera tenor, Richard Troxell (AVA class of
‘92). As an independent choreographer, she has performed all over
Philadelphia and the five-county region. Ms. Lovelace collaborates
with opera singers and performs extensively with children of all ages.
She is currently on the faculty at West Chester University and has
been a guest artist at Eastern College and St Joseph’s University,
where she has been commissioned to create dances, hold
workshops, and conduct master classes. Formerly a member of
Dance Conduit, Danceteller, and co-director of Sacred Ways Dance
Company, Ms. Lovelace is in her eighteenth year teaching modern
technique at Feet First Dance Studio.
12
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VOCAL AND OPERA PERFORMACE
TRAINING PROGRAM
GOALS AND OBJECTIVES
The objective of the Academy of Vocal Arts is to ensure that a student will be a thinking artist who is self-sufficient both musically and
dramatically, knowledgeable about the field of opera and voice, well-prepared in foreign languages, and able to pursue a career in the
world’s great opera houses. Performances of operas, art song, and oratorio give each student the opportunity to learn masterworks under the
supervision of an outstanding faculty, and to perform them in venues open to the public and reviewed by music critics.
The full course of study at the Academy of Vocal Arts is four years. It should be emphasized that all training is directed towards
preparation for a career in singing rather than toward the fulfillment of set academic requirements or a career as a teacher. As in a
professional opera theater, the actual ability and diligence of a singer is often given more weight than seniority when casting decisions are
made. Further, the assignment and performance of specific roles must be considered within the context of AVA’s overall instructional program,
the foundation of which is the detailed study of operatic literature. Each role assigned to a singer is a significant portion of this learning process.
However, no guarantee is made that a singer will necessarily perform a role which he/ she has been assigned or has prepared.
At this time, no degrees are granted, but artist diplomas, which are designed to be equivalent to a master of fine arts in opera
performance (MFA), are awarded to those whom the Academy believes are ready for operatic and concert careers.
COURSE DESCRIPTIONS
the Academy of Vocal Arts’ resident artists are expected to
be available for a full daytime schedule consisting of, but not limited to:
STUDIES IN OPERA
VOICE LESSONS
One lesson per week or equivalent is offered with the artist’s major
voice instructor.
COACHING AND REPERTOIRE
A faculty of conductors and coaches works with singers,
individually and in ensemble, to prepare not only operatic roles,
but also arias, song, and oratorio literature. Elements of coaching
include: pitch and tuning, rhythm, language and style, harmony,
and expression.
L A N G UAG E S
FRENCH 1, GERMAN 1, ITALIAN 1
Introductions to French, German, and Italian with emphasis on
basic pronunciation leading towards conversation, and
correct stage pronunciation of spoken dialogue. Basic
vocabulary and fundamental grammatical concepts are studied, as
well as the ability to translate using a dictionary and supplemental
resource materials which examine phonetics and phonemics, open
and closed vowels, and special poetic constructions.
13
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FRENCH 2, GERMAN 2, ITALIAN 2
An enhancement of the skills attained in the first year of
language study by increasing the level of language
sophistication through added complexity of grammar and
vocabulary.
SPANISH AND RUSSIAN
An introduction to basic grammar; the study of phonetic
diction, pronunciation and vocabulary; the translation of
specific operatic and song repertoire as needed for the
performance season.
ENGLISH AS A SECOND L ANGUAGE
Classes are offered to those international resident artists
requiring greater proficiency in English with emphasis on
individual needs for AVA course work and a career in
performing arts. Listening and speaking skills are the primary focus.
Lessons are structured to teach basic and intermediate grammar,
vocabulary, and pronunciation to develop conversation skills. As
resident artists progress, the content of reading, composition, and
conversation is drawn increasingly from materials related to
professional training and performance contexts. Extensive
individual attention is a key element of this class.
VOCAL AND OPERA PERFORMACE
TRAINING PROGRAM
PERFORMANCE STUDIES
STAGE COMBAT
Throughout the year, classes are held for Year 1 and 2 artists
by a recognized master of the field. This course is designed
to teach freedom of movement, self-defense, and facility of
motion. Artists study stage combat technique, postures, and
correct use of knives, swords, and other weaponry.
MOVEMENT AND DANCE
Throughout the year, classes are held for Year 1 and 2 artists
designed to express a wide range of characters and
emotions, to improve body image, physical dexterity and
health, and to develop relaxation techniques. Specific
dance styles appropriate to the operatic repertoire are
studied, such as the waltz, gavotte, polonaise, and minuet.
OT H E R R E L AT E D S T U D I E S
HISTORY OF OPERA
This course is a study of the growth of the operatic form from
the Camerata of 1597 to the mid-twentieth century, divided
into three periods: 1) Pre-Mozart and Mozart, 2) The
Italians-Verdi, Puccini, et. al., and 3) French, German, and
contemporary styles.
HISTORY OF SINGERS
This course is a study of the great singers of the
eighteenth, nineteenth, and twentieth centuries; singers who
premiered the important roles of these periods, and famous
lieder singers.
ORATORIO PREPARATION
In individual and group rehearsals, and master classes
with prominent performing artists, resident artists are
instructed in the proper musical style and technique for
oratorio performance.
SOLFÈGE
Individual training is offered to singers who are not yet adept
at sight-singing and continued for as long as necessary.
CARE OF THE PROFESSIONAL VOICE
Detailed lectures in the science of the singing and speaking
voice are presented by fully qualified physicians and clinical
specialists.
PROFESSIONAL DEVELOPMENT
Former artists’ manager and opera consultant Thor Eckert
provides one-on-one audition preparation and advice on
career development.
OPERA APPRECIATION
In order to develop skills in artistic appreciation, AVA encourages artists to attend all performances presented by AVA
Opera Theatre, and provides the following opportunities:
Passes for a variety of world-renowned orchestral
music societies, opera, and solo artists in recital,
including the Philadelphia Orchestra, Chamber Orchestra of
Philadelphia, Opera Company of Philadelphia, and the
Philadelphia Chamber Music Society.
“
I often recall many of the lessons learned in Maestro Macatsoris' studio. He
taught us how to dig into the music and the words ... to allow our voice to
be imbued with the joy, the pain, the despair – the very humanity of the music.
We learned to respect the composer's intentions down to every dot, dash
and detail; in short, he taught us how to be artists. Maestro's example
along with that of the coaches, and the technical expertise of my voice teacher,
Bill Schuman, gave me the tools to fulfill my dreams of singing on some
of the world's greatest stages.
—BRYAN HYMEL, AVA ‘08
14
•
”
G E N E R A L I N F O , P O L I C I E S & R E G U L AT I O N S
T
he Academy of Vocal Arts admits artists of any race, sex,
religion, national or ethnic origin to all the rights,
privileges, programs, and activities generally accorded or
made available to resident artists at the school. It does not
discriminate on the basis of race, sex, religion, disability,
national or ethnic origin in the administration of its educational
policies, employment policies, admissions policies, or
school-administered programs.
FINANCIAL INFORMATION
All singers are granted full-tuition scholarships. These scholarships
are awarded for a three-month probationary period, and thereafter
on a yearly basis. Merit-based fellowship grants are available
each year to offset the cost of living expenses while attending AVA.
In 2014-2015 fellowships included:
• Anonymous Fellowship (2)
• Bucks County Opera Association Fellowship
• Joseph Cairns Jr. and Ernestine Bacon Cairns Fellowship (2)
• James Pease Fellowship
• Jeannine B. Cowles (AVA 1950) Fellowship
• Sally Paxson Davis Fellowship
• Edward Costa Dolbey Fellowship
• Placido Domingo Fellowship
• Edwin B. Garrigues Fellowship
• Eugene M. and Ronnie F. Isenberg Fellowship
• Alexandra Gould Fellowship
• Gordon K. Greenfield Fellowship,
• Established by the Albert M. Greenfield Foundation
• Jeffrey Kneebone Fellowship
• Ariel G. Loewy Fellowship
• Charlotte and Mackie MacLean Fellowship
• Cornell MacNeil Fellowship
• Sheila Kessler Fellowships
• Robert Merrill Fellowship
• Millennium Fellowship
• Evie Minor Fellowship
• James Morris Fellowship
• Eve Nyheim Fellowship
• New Century Fellowship
• John Nyheim Fellowship
• Francis J. Palamara Fellowship
• Adele Warden Paxson Fellowship
• David Poleri Fellowship
• Ann B. Ritt Fellowship
• Celia Mones Rudolph Fellowship
• Ruth Ann Swenson Fellowship
• Charlotte DeSerio Watts Fellowship
• Robert Weede Fellowship
AVA is accredited by the National Association of Schools of Music,
and as such is now approved for participation in Title IV Federal Loan
Program. This allows current domestic students to defer payments on
outstanding student loans, and to apply for Stafford Loans while
attending AVA. Foreign students are not eligible for Title IV support,
and they are unable to work in the United States except in limited
cases of “practical study,” whereby they may accept singing jobs,
such as the Santa Fe Apprentice Artist Program.
If you are accepted to AVA and wish to apply for financial aid you
may obtain and complete a 2016/2017 Free Application for
Federal Student Assistance (FAFSA) by calling the Federal Student Aid
Information Center at 1-800-433-3243, or by visiting the FAFSA
website at http://www.fafsa.ed.gov. You may also obtain this form
from your current college or university financial aid office. To apply
for Federal Student Aid you must provide financial aid transcripts
from all colleges or universities you have attended, whether or not
you received financial assistance. When completing the FAFSA and
all other required documents, applicants will need to include the Title
IV School Code for the Academy of Vocal Arts, 03353300; or the
Federal Loan ID number, G33533, whichever is applicable.
ENTRANCE AND EXIT COUNSELING
Online entrance and exit counseling for Federal Loans is
provided by US Department of Education in the web site
www.StudentLoans.gov. Entrance counseling is required prior to the
approval of the first loan, and Exit counseling is required immediately prior to graduation, or immediately after cessation of enrollment.
FEDERAL LOANS APPLICATIONS
VERIFICATION POLICY
The Academy will conduct verification of the information
contained in the loan application on all applications selected for
verification by the Department of Education. In addition, the
Student Aid Officer processing the loan applications may select any
application for verification for reasons of discrepancies, conflicting
information, incomplete information, or any other criteria consistent
with the applicable Department of Education guidelines. A loan
application selected for verification will not be finalized until the
process is complete.
FEDERAL LOAN FUNDS RETURN POLICY
• Christel Nyheim Fellowship
15
FINANCIAL AID APPLICATION MATERIALS
•
Federal Loan funds may be returned by a student at any time
during the period of the loan, and the portion returned will be
cancelled from his loan. The loan of a student who leaves the
Academy, falls below academic eligibility, or fails to meet
attendance requirements for a full-time student, as defined in The
Federal Title IV Regulations, will be cancelled effective the date of
his change of status and no further disbursement of funds will be
made. Federal loans are disbursed pursuant to a schedule of
completion of the required Program of Study hours. Therefore, any
overaward resulting from a student’s incompletion of the required
hours of the Program of Studies at the time of his/her change of
status will be subject to a demand for the immediate refund of the
G E N E R A L I N F O , P O L I C I E S & R E G U L AT I O N S
over-awarded funds. The Student Aid Officer will prepare the
required computations and inform the student immediately upon
notification of a change of status. The return of funds will be made
no later than 30 days after the change of status.
Although AVA Resident Artists do not pay tuition, they are
responsible for their own daily living expenses and securing their own
living arrangements. The Academy is located one block south of
Rittenhouse Square, a historic residential area in Center City
Philadelphia. Grocery and convenience stores, laundromats,
pharmacies, bookshops, hardware stores, restaurants, health clubs,
and clothing stores can all be found within a few blocks of the
Academy.
Most resident artists live alone or with roommates in numerous
apartment and boarding houses in the immediate vicinity, as there
are no dormitories at AVA. Estimated monthly costs of living in
Philadelphia for a nine-month period are:
Items
Per Month
Rent
$ 950
Electric/gas/water
$ 150
Cellphone/Internet access $ 120
Food
$ 400
Laundry/Dry Cleaning
$ 40
Personal recreation
$ 150
Books and music
$ 200
Miscellaneous
$ 150
Monthly Subtotal
$ 2,160
Approx. 9-Month Total
INSURANCE
$ 19,440
The Academy of Vocal Arts does not provide either medical or
personal property insurance. It is strongly recommended that each
artist subscribe to a health plan. Personal belongings should be kept
in lockers (provided by AVA) for security. Contact your local insurance
agent to see if losses are covered by personal or family policies.
EMPLOYMENT
Singers are encouraged to seek outside professional solo
engagements, and are also permitted to augment their income by
filling positions as soloists in church and synagogue choirs. On the
other hand, it is the firm belief of the Academy’s faculty that extensive
singing in professional choirs may be injurious to the voice and
adversely affect the singer’s work and progress at the Academy. In
most cases, foreign students will not be eligible for employment in the
U.S. International students may apply under the SEVIS system for
practical training programs. A Form I-765 must be submitted to the
Immigration and Naturalization Service for approval of such work.
ACADEMIC CALENDAR
All accepted artists are enrolled for an entire academic year
consisting of two semesters in a nine-month period beginning on the
first Wednesday after Labor Day and ending on approximately the
third Friday in May. AVA does not offer summer programs or other
courses of study during June, July, or August.
ATTENDANCE
Resident artists are expected to attend all classes, lessons, and
required rehearsals. Promptness is required in all cases. Absences or
repeated tardiness may result in a failing grade, or in extreme cases,
dismissal from the Academy. All classroom courses will have
attendance policies established by the instructor, in accordance with
school policy. Absences are forgiven when they are caused by
special rehearsals scheduled for performance. Such rehearsals are
announced to the instructor, by the administration, in advance.
RELEASES
Before accepting any outside engagement, whether during
rehearsals and classes or not, the singer must obtain a written release
first from his/her voice instructor and then from both the executive and
music directors. No releases will be given during the final month of
rehearsing an opera, or during the run of performances, to those
singers performing in that production.
ATTIRE
All resident artists are required to own concert attire (long dress or
full-length skirt and top with sleeves for women; tuxedo and dark suit
for men). At all times artists are expected to dress in attire appropriate
to their position as resident artists and performers.
RELEASE OF TRANSCRIPTS
Requests for transcripts must be made in writing. Official
tran-scripts will be released only to an outside agency. There is no fee
for a transcript. The Academy of Vocal Arts adheres to the Family
Educational Rights and Privacy Act of 1974.
STUDENT HANDBOOK
Additional rules and regulations of the Academy of Vocal Arts are
outlined in the Student Handbook, which all students receive on the
first day of the school year. Students may be subject to dismissal at
any time for failure to adhere to the rules of the Academy as stated
in the Student Handbook.
ADDITIONAL FEES
In addition to purchasing piano/vocal scores, all students will
be required to purchase textbooks and workbooks for language
classes as well as texts, if required, for opera history, etc.
LIBRARY
16
The AVA library has a selective collection comprised of opera vocal
scores, song and aria collections, a limited number of light opera,
musical comedy, and oratorio scores, resource materials, opera
videos and CDs, as well as an extensive recording collection of the
late music critic Max DeSchaunsee.
•
ARTIST DIPLOMA
AVA IS A NON-DEGREE-GRANTING INSTITUTION ACCREDITED BY THE NATIONAL ASSOCIATION OF SCHOOLS OF
MUSIC. THE ARTIST DIPLOMA IS DESIGNED TO BE THE EQUIVALENT IN STANDARDS TO A MASTER OF FINE ARTS IN
OPERA PERFORMANCE (MFA).
MINIMUM COURSE
REQUIREMENT
SCHOL ASTIC STANDING
(actual clock hours)
VOCAL STUDIES
Voice lessons
180 hours
Coaching
720 hours
Languages
180 hours
PERFORMANCE STUDIES
Performance class
150 hours
Movement/Dance
60 hours
Stage combat
Opera performance
60 hours
240 hours
O T H E R R E L AT E D S T U D I E S
Opera history
60 hours
History of singers
30 hours
Oratorio seminar
30 hours
Professional development
60 hours
Voice science seminar
30 hours
T O TA L H O U R S
required for Artist Diploma
1800 hours
Semesters are designated as Fall
(September through December) and
Spring (January through May).
4.0
3.7
3.3
3.0
2.7
2.3
2.0
1.7
1.0
.0
17
EXAMINATIONS AND JURIES
The Academy of Vocal Arts’ entrance test assesses the artist’s knowledge of solfège,
theory and harmony, and music history, including the history of opera and the important
singers of each epoch. The test results are evaluated by the faculty and the executive
director, who then determine the course of action needed to raise any artist’s level of
musical proficiency and knowledge.
All graduating artists must prepare a full-length recital of representative works from the
major historic periods and styles of vocal literature. Excerpts from these recitals will be
selected by the music faculty to be presented by the graduates in a final public
performance on the occasion of their graduation.
Audit
Exempt
Incomplete
Pass
Withdrawn/ Passing
Withdrawn/Failing
Fail
Students may be placed under probation or dismissed for an attitude or deportment
which conflicts with the standards of the Academy, for violations of school policies
concerning sexual harassment, for violating local ordinances, or if by remaining in the
school they endanger their health or the health of others.
Comprehensive evaluations, which include performance reviews and course
grades, take place at the end of school year. Resident artists will be required to take
examinations in the following courses: all languages, opera history and history of
singers, music theory and piano. All performances are reviewed by the faculty. In cases
where insufficient progress is being made, the singer will be notified in writing as such,
and corrective suggestions will be made to help avoid disciplinary action.
OTHER GRADES:
AUD
EX
INC
P
W/P
W/F
F
In addition to the courses which receive credits, all students will be required to
participate in non-credit activities, specifically art song recitals, oratorio programs, and
any other performance activity required, including opera chorus.
Because of AVA’s intimate size and scope, resident artists receive continuous feedback
from the music faculty. Performances and competency are evaluated by the faculty
for musical accuracy of pitch and rhythm, linguistic abilities in foreign languages,
interpretive freedom, ability to communicate with the audience, as well as proficiency in
vocal technique, clarity of tone, and overall vocal progress. Each of these areas is
monitored over the period of the artist’s study at AVA. Semi-annual reviews are scheduled
to discuss all of the above as well as role assignments, career options, and any other
issues pertaining to their career and performance at the Academy of Vocal Arts.
GRADING SYSTEM
A
AB+
B
BC+
C
CD
F
Resident Artists who do not maintain a GPA of 3.0 or better will receive letters of
warning. This letter will encourage them to correct the problem, and alert them to
potential disciplinary action. Artists not maintaining the required average will be subject
to loss of financial assistance and potential dismissal from the program. If a singer fails
to complete the required number of credit hours by the end of four years he/she cannot
be granted the Artist Diploma. The program allows for the possibility of completing the
requirements in three years and receiving the Artist Diploma. It does not preclude
completing four years; any artist could remain the entire four years regardless of
completion of these requirements. Singers performing roles with professional opera
companies would receive credit towards opera performance, but would not be eligible
for any other credits while absent.
•
AVA ENTRANCE REQUIREMENTS
APPLICATION AND AUDITION
The Academy of Vocal Arts accepts singers on a full-tuition
scholarship basis only. Most of AVA’s artists matriculate from
renowned music schools in the United States, Canada, Europe, Asia,
and Central and South America. They have already achieved a high
level of musicianship, a knowledge of music theory and history, and
have had many years of private voice study with major voice
teachers. Singers are urged not to apply unless they feel they have
exceptional vocal and theatrical qualifications and have dedicated
themselves to a professional career. All applications are reviewed by
the Dean of Students. Applicants with insufficient experience are
discouraged from applying, and applications and fees are returned.
All applicants must enter the program by means of a formal
application and audition.
APPLICATION FORM
Application and supporting documents deadline:
February 12, 2016.
Applicants should have at least four years of college training in music
or its equivalent in private study.
Applicants are accepted regardless of race, sex, nationality, religion,
disability, or marital status. Age guidelines are 18-28 for both
women and men. Exceptions are made on an individual basis,
depending on the applicant’s talent and any other extenuating circumstances such as military service or having entered the music field at
a very late stage. Please send proof of age (birth certificate, driver’s
license, etc.) when submitting an application.
College or university transcripts are NOT required for an
audition. If accepted, applicant must submit copies of official
college or university transcripts demonstrating scholastic competence
to succeed at a graduate level, as well as competence in music
theory, ear training, language skills, music history, and basic
keyboard skills.
DO NOT SEND:
• Letters of recommendation
• Publicity materials
• CD or DVD for pre-screening,
(if live audition is requested)
REQUIREMENTS FOR
FOREIGN APPLICANTS
AVA welcomes applicants from qualified singers from other countries.
Admission requirements are identical for applicants, regardless of
citizenship. The school is authorized under Federal Law to enroll
non-immigrant alien students. English proficiency is required, and is
evaluated in the audition process. TOEFL scores are required.
Immigration regulations require all successful foreign applicants to
obtain a student visa. The Academy of Vocal Arts is approved
for attendance by artists granted an F-1 visa. AVA will enter
international students into the SEVIS system and provide a SEVIS I-20
form for those students so that they may apply for their F-1 visas.
English proficiency is necessary to communicate with teachers and
coaches.
AUDITION PROCESS
The attached application form must be completely filled out and
emailed, mailed or hand delivered to the Academy of Vocal Arts.
$100 non-refundable application fee must be paid online prior to
submitting application. Include payment code on application form.
For problems with online payment, contact [email protected]
Application packets are reviewed by Dean of Students and an
audition date and time are assigned to the applicant. Audition
notices will be emailed to those prospective students whose
application is complete. Applicants whose submissions are missing
required information receive an email request. Please provide a
current email address on your application and add
[email protected] to your address book to be sure that
your ISP accepts email from AVA.
ELECTRONIC AUDTION
Applicants may submit a CD or DVD of the required audition
repertoire in lieu of a live preliminary audition. All applications,
fees, and videotapes must be received by February 12, 2016.
Videotaped auditions will be reviewed by the president and artistic
direct, music director, and musical staff. Applicants will be notified
in advance regarding their eligibility for the finals in Philadelphia
on March 16, 2016. Pre-screened video applicants who advance
to the finals are recommended to perform in person for the
members of faculty on March 15, 2016 in Philadelphia. If you are
auditioning live, DO NOT send a CD or DVD recording.
You may submit video and audio samples
electronically via links to websites (YouTube, etc.)
or as email attachments (10MB limit).
18
•
AVA ENTRANCE REQUIREMENTS
LIVE AUDITION
Preliminary competitive auditions will be held in Philadelphia
at the Academy of Vocal Arts on March 14 & 15, 2016.
Applicants will be notified after the finals in Philadelphia.
FINAL AUDITIONS
Final auditions will take place in Philadelphia at the
Academy of Vocal Arts, 1920 Spruce Street, Philadelphia,
Pennsylvania. Please see application form for audition
locations and dates, and indicate preferred audition date.
Applicants must be prepared to sing five opera arias in
contrasting styles and languages. At the audition, the
applicant chooses an aria to sing, and the panel may
choose an additional aria (or arias). Three copies of the list
of arias should be provided at the time of the audition.
APPLICATION CHECKLIST
To ensure the timely processing of your application,
please be sure you have included all of the following:
❑ Application form (PDF)
❑ Résumé (PDF)
❑ 8" x 10" photo (JPG)
❑ Proof of age (PDF)
(copy of passport or driver’s license)
❑ $100 non-refundable application fee
(payable in U.S. dollars only)
APPLICATION DEADLINE
The Academy provides an accompanist, but applicants are
permitted to bring their own. The applicant must supply the
appropriate scores at the time of audition.
February 12, 2016
Applicants may warm up for thirty minutes in a practice room
before their audition. The panel is not obliged to hear all the
music that an applicant may have prepared or to give an
audition evaluation.
Philadelphia: March 14, 2016
March 15, 2016
Applicants will be notified by mail of the status of their
application within a few weeks following the audition.
PRELIMINARY AUDITION DATES
FINALS
Philadelphia: March 16, 2016
SUBMIT APPLICATION
VISIT avaopera.org and submit your payment
Put payment code on application
Send application via email to [email protected]
OR send via mail
The Academy of Vocal Arts
ATTENTION: VAL STARR, DEAN OF STUDENTS
1920 Spruce Street
Philadelphia, PA 19103-6685 USA
Any problems paying online,
please email [email protected]
Applications sent by fax will not be accepted.
QUESTIONS
Contact Val Starr, Dean of Students, at [email protected]
or call 215.735.1685 with any questions regarding
your application.
Visit our website avaopera.org for more information.
19
•
WHY LIVE & STUDY IN PHILADELPHIA?
AVENUE OF THE ARTS
OLD CITY/HISTORIC DISTRICT
More than 20 performing arts venues such as The Academy
Philly students don’t just read about American history—they
of Music, The Kimmel Center for the Performing Arts, the
go see it firsthand. “America’s Most Historic Mile” is a great
Merriam, Prince and Wilma Theatres (covering opera, ballet,
experience at any age. Nearby is also where Philly’s art
jazz, plays, and orchestral music) are located along this
scene ignites on the “First Friday” of each month. Not to be
3-mile stretch, where theater, music, and the arts come
missed.
together to form a cluster of cultural attractions that rivals any
SOUTH STREET/PENN’S LANDING
city in the world.
South Street’s 11 blocks of funky shops, galleries,
RITTENHOUSE SQUARE
restaurants, and clubs are where Philly’s student population
AVA is located one block south of Rittenhouse Square, the
merges and mingles all week long. Referred to in song as
city’s most desirable neighborhood. The square’s many great
“the hippest street in town,” South Street leads right to Penn’s
restaurants, sidewalk cafés, and bookstores are a big
Landing, a waterfront park that, among other things, hosts
attraction.
more than 70 outdoor events and concerts each year, and
most events are free.
PHOTOS [THIS PAGE]: Greater Philadelphia Tourism Marketing Corporation
FAIRMOUNT PARK
20
The nation’s largest landscaped city park is a mecca for
UNIVERSITY CITY
students, athletes and art lovers. With 8,900 acres and 100
With over 40,000 students from the University of
miles of jogging trails, you’ll find works by Remington, Rodin
Pennsylvania, Drexel University, and The University of the
and other artists throughout the park. Many students come
Sciences in Philadelphia, students definitely rule. This
here to rent bikes, boats, or rollerblades. Others just sit along
neighborhood mixes urban life with tree-lined streets and
the river, catch some rays and read.
historic Victorian homes, and it’s quickly becoming the
Harvard Square of the Mid-Atlantic. Located just across the
ITALIAN MARKET AND SOUTH PHILLY
Schuylkill River from downtown, University City is home to the
Dubbed “the world’s largest outdoor market,” this
Institute of Contemporary Art, Annenberg Performance
one-of-a-kind experience dates back to the mid-1800s.
Center, and Penn’s Archaeology Museum. U City also boasts
Students often venture here for a real Italian meal, a “water
top restaurants, like Pod, Rx, and The White Dog Café, as
ice,” or to soak up the South Philly atmosphere. Head over to
well as a dizzying array of ethnic eateries offering up the true
9th and Passyunk at any hour for the most famous of Philly
flavors of India, Africa, and Southeast Asia.
foods: a cheesesteak. South Philly is also the home of
Philadelphia’s great sports teams—The Phillies’ Citizen’s
Bank Park, the Eagles’ Lincoln Financial Field, and the Flyers
and 76ers’ Wachovia Center. All are easily accessible by
public transportation.
•
A P P L I C AT I O N F O R M
AUDITION INFORMATION
Application form for
admission during the
2016-–2017 scholastic
year. Please read catalog
information before filling
out this application form.
NAME (Omit maternal surname, if applicable)
DATE OF APPLICATION
VOICE CATEGORY
• Please check one of the following options:
❑ LIVE AUDITION
• Date (check preference):
❑ Philadelphia—March 14, 2016
❑ Philadelphia—March 15, 2016
❑ CD OR DVD AUDITION (If you send a CD or DVD you WILL NOT be scheduled for a live audition.)
REQUIRED INFORMATION
FULL LEGAL NAME
(FIRST / MIDDLE / LAST)
DATE OF BIRTH
AGE
• (check one) ❑ U.S. Citizen ❑ Permanent Resident
Academy of Vocal Arts
will contact you via email
International Students: Visa Status
PRESENT ADDRESS
Nationality
STREET
STATE
Please make sure
TELEPHONE
FAX
current, and add
EMAIL
your email address is
[email protected]
to your address book.
Alien Registration Number
SS#_____________________________________________
CITY
regarding your audition.
(OMIT MATERNAL SURNAME, IF APPLICABLE)
ZIP
COUNTRY
ZIP
COUNTRY
PERMANENT ADDRESS (IF DIFFERENT THAN ABOVE)
STREET
CITY
STATE
TELEPHONE
FAX
ADDITIONAL INFORMATION
OFFICIAL USE ONLY
Marital status
AUDITION DATE
LOCATION
Number of dependants
PAYMENT INFORMATION
PAYMENT DUE WITH APPLICATION
Contact [email protected] to
make alternate arrangements
Height
TIME
ONLINE PAYMENT CODE____________
Weight
21
•
A P P L I C AT I O N F O R M
General Education: Including names of institutions for undergraduate, graduate, and postgraduate work
To ensure the timely
processing of your
application, please be
sure you have included all
of the following:
❑ Application form
❑ Résumé
❑ 8" x 10" photo
❑ Proof of age
(copy of passport or
driver’s license ONLY)
Musical Education: Including names of voice teachers, coaches, conductors, and length of time with each
❑ $100 non-refundable
application fee
(payable in U.S.
dollars ONLY)
Languages: Indicate years studied and proficiency (Fluent, Excellent, Good, Poor)
Italian
French
German
Spanish
Other
• If English is not your native language, please indicate level of proficiency:
❑ Fluent
❑ Excellent
❑ Good
❑ Poor
• If you have taken the TOEFL, indicate score and date of test.
TOEFL score
Date
Performing Experience: Professional and other (if available, attach resume including email address)
ACADEMY OF
VOCAL ARTS
1920 Spruce Street
Philadelphia, PA
19103-6685 USA
Phone: 215.735.1685
Fax: 215.732.2189
• I became interested in the Academy of Vocal Arts through:
❑ Former/current Student ❑ Print Advertisement ❑ Poster
❑ Web site
❑ Web Ad
❑ Email List
❑ Other (please specify)
• Have you auditioned for the Academy of Vocal Arts in the past?
❑ Yes
❑ No
If yes, when?
If accepted by the Academy of Vocal Arts, I acknowledge that while my tuition is free, I am responsible for
all living expenses, including room and board, as well as personal property and health insurance costs.
avaopera.org
SIGNATURE OF APPLICANT
APPLICATIONS ARE DUE BY FEBRUARY 25, 2016. PHOTOCOPIES OF THIS FORM ARE ACCEPTABLE.
22
•
Alicia Maraslian de Abraham 1969
Ruth Ann Abramson 1961
Antonio Adame 1985
David Adams 1993
Paul Spencer Adkins 1975
Esther Admon 1956
Edward Albert 1994
Joyce Albrecht 1951
Maria Aleida 2012
Jeff Allyn 1988
Mignon Altman 1929
Elaine Alvarez 2005
Joyce Ammer 1955 (Gentile)
Larry I. Amos 1966
Russell Anderson 1965
Ronald Andrews 1959
Viktor Antipenko 2012
Jay Anstee 1984
Conchita Antunano 1974
Matthew Arnold 2006
Eric Ashcraft 1993
Charles R. Austin 1990
Cody Austin 2009
James Michael Austin 1979
William Austin 1980
John R. Autry 1996
Luigi Boccia 2012
Cristina Baggio 2005
Gail L. Baker 1969
Levant Bakirci 2007
Barbara S. Baldwin 1989
Walter Banach 1954
Antanas Banys 1939
Stephen Barchi 2013
Martha Barnes 1951
Margaret M. Baroody 1984
Frank M. Barr 1969
Lando Bartolini 1974
Vito Bassi 1940
Mary Stewart Beach 1963
Markus Beam 2005
Mary Beberman 1986
Dean Bennett 1960
Ross Benoliel 2003
Mordecai Ben-Shachar 1958
Richard Benson 1946
Gisela Bergman 1959
Marian Berkey 1945
Judith Bettinger 1985
Burak Bilgili 2004
Cohleen J. Bischoff 1950
Edwars J. Blair Jr. 1969
Linda Bogarde 1970
Christopher Bolduc 2010
Helen Bolton 1962
Marjorie Wellock Bond 1947
Virginia Boomer 1979
Zach Borichevsky 2012
Patricia Uspel Bosma 1964
Robyn Bauman1982
Jean Bowler 1960
Christian Bowers 2013
Allison Bowman 1994
Joseph Bozzomo 1962
Louise Brauch 1936
Rose Adele Brault 1947
Wanda Brister 1985
Miriam Brower 1942
Carol Brown 1946
James Brown 1996
Frederick Brozer 1964
Mary Brumbley 1940
Richard Brunner 1980
Bruce Brys 1977
Emily Ann Buckley 1941
Nancy Nicks Bucklin 1969
Viola Buhl 1953
Richard Burke 1985
Steve Burton 1978
German Bustos 1978
Ruth Cabot 1959
Karen Cady 1962
Elizabeth Calleo 2000
Cherie Caluda 1994
Jessica Rose Cambio 2009
Charlene Campbell 1975
Andrew Canale 1945
Manfred Capell 1956
Frank Cappelli 1946
Eileen Capraro 1946
James Caputo 1997
Deborah Carbaugh Nelson 1981
Joseph Carlucci 1949
Monica Rose Carney 1994
Amy Carpenter 1986
Rebecca C. Carr 1990
Thomas Carson 1983
Elizabeth Carter 1988
Lauretta Carver 1943
Susan Cassidy 1969
Charlotte Cathcart Judge 1989
Howard B. Chadwick 1964
Cecelia Rae Chaisson 1990
Georgina Chakos 1989
Jennifer Check 2000
Kam Cheng 2004
Carol Courtman Cherin 1962
Soo-Yun Chung 2002
Rosemary Ciccone 1944
Richard J. Clark 1961
Clinton Cleaver 1976
Stephanie Cline 1978
C. Evans Clough 1969
Denise Coffey 1978
Sheryl Heather Cohen 2000
Scott Conner 2012
Eugene T. Conley 1947
Roberta B. Connolly 1978
Spelios Constantine 1957
Cynthia Cook 2011
John T. Cook 1999
Jan Cornelius 2011
Evanivaldo Correra 2006
Bonnie Leaders Corsaro 1969
Dominic Cossa 1962
Stephen Costello 2007
Francis Courtenay 2002
Carol Courtman 1964
Deborah Covener 1965
Jeannine Bouchard Cowles 1950
Basil Cozanites 1946
Edward Crafts 1979
Meredith Rung Creswell 1973
Dagmar Crosson 1940
(Weisenberg)
Tonya Currier 1990
Charles Curtis 1966
Eugina Dagois 1968
Colleen Daly 2010
Virginia D'ambrosio 1971
John Darrenkamp 1969
Ken Davis 1978
Robert Warren Davis 1947
Carol Day 1962
Leonor Arenas de Leone 1945
Charlotte Boehm De Windt 1951
Elizabeth Dehn 2006
Phyllis Demetropoulos 1981
Joseph Demarest 2009
Cecelia Dempsey 1981
Abraham J. Denburg 1967
Flora Mattioli dePasquale 1952
Jeffrey A. DeVault 1977
Megan Dey-Toth 1998
Joyce DiDonato 1995
John Louis Dietz 1954
John Dietz 1954
Carla Dirlikov 2009
Dorothy DiScala 1954
Eileen Capraro DiTullio
Dolores Dohney 1961
Burak Dördüncü 2002
Judith Dorion 1973
Sandra Ellenburg Dorsey 1960
Gertrude Drangmeister 1948
Eric T. Dubin 2007
Rayford Dudley 1962
Suzanne DuPlantis 1992
Harry Dworchak 1973
Emily Earon1951
Michael Eberhard 1995
Nelson Ebo 2013
Nina Edwards 1995
Ryan H. Edwards 1965
Serita Felter Edwards 1967
Gale Rothwell Egoville 1966
John Eisenhardt 1976
194 0 - 2 014
ALUMNI LIST
Joyce El-Khoury 2008
Jane Ellis 1964
Mo EL Zein
Emalee Earon 1951
Lorraine Ernest 1991
Lucas Ernst 1984
Libera Casaccio Evans 1943
Manon Strauss Evrard 2007
Joan Long Ewart 1950
Alice Eyler 1969
Michael Fabiano 2009
Iris Fairfax 1989
Judith L. Farris 1971
Matthew Farruggio 1944
Lucy Faulkner
Hazelita Fauntroy 1977
Henry Faust 1947
Ubaldo Feliciano-Hernández 2000
Valentin Fernández 1984
Wilhelmenia Wiggins Fernandez 1969
Enrique Ferrer 1998
Michael Fiacco 1984
Jacqui Fidlar 1999
Alice Field 1978
Branch T. Fields 1998
Rita Filing 1952
John Fiorito 1961
Alan Firestone 1956
Sharon Cozza Fisher 1967
Jane Foltz 1947
Thomas Foran 1960
Lucie Formwalt 1973
Linda Pierce Fraser 1968
Mary Frazier 1969
Steven Fredericks 1987
Walter Fredericks 1946
Mary Lou Frenz 1956
Raymond Friday 1964
Andrew Gainey 1948
Yael Galperin 1959
Armando Gama 1998
Alberto Garcia 1973
Jesus Garcia 2002
Rebecca Garcia 2002
Mark C. Gargiulo 1990
Kenneth Garner 1982
Norman Garrett 2010
Janina Garstka 1939
Jorge Garza 1995
Oziel Garza-Ornelas 1991
Philippe Gendron 1996
Joan Ammer Gentile 1955
Therese Gigot 1998
Lola Gilbert 1947
Allan Glassman 1977
Thomas J. Glennom 1946
William Goeglein 1974
James E. Gold 1975
Jay Gore 1951
Leana Smit Graham 1946
Othalie Graham 2004
Robin Grattan 1978
Ethel Greene 1944
James Griffeth 1951
Rita Griffeth 1952
Sophia Gruchala 1946
Patrick Guetti, 2014
Leila Guimaraes 1984
Eglise Gutierrez 2004
Anne Hagan 1987
Jeffrey Halili 2006
Bonnie Hall 1977
Ronald Hall 1957
Suzanne W. Hamiel 1968
Werner Harms 1949
John Harrold 1942
Janice Morris Harsanyi 1954
Linda Hartly 1974
Vernon W. Hartman 1978
Sasha Hashemipour 2012
Sara Haus 1993
Rosemary Harvey 1967
Gwendolyn Hasheian 1992
Sara Haus 1997
Cassandra Hayes 1982
Michael Heath 1976
Julia Heida 1963
Kimberly Henshaw 2006
Jerry L. Helton 1969
Stuart Herman 1950
Miriam Zito Hermosa 1967
Levi Hernandez 2002
Thomas Herndon 1963
Nancy Herrera 1995
Sherida Hoffmann 1969
George W. Hogan 1984
Erin Holland 2002
Carolyn Kimball Holmquist 1965
Grete Wolff Hopkins 1961
Tatsuo Hoshina 1964
Jennifer Hsiung 2007
Gisella Hubay 1937
Michelle Hughes 1984
Clay Hulsey 1994
Marlene Hupp 1959
Edmond Hurshell 1951
Jane Hurst 1937
H. Dean Hutchings 1963
Bryan Hymel 2008
Soon Hyun 1959
Jesús Ibarra 2007
William Ingle 1963
Kristopher Irmiter 1986
Marit Isene 1949
Andrea Jaber 1983
Shelley Jackson, 2014
Lyn Simone Jacobson 1993
Lotte Jaenchen 1947
Randall Jakobsh 1998
Jean Jalkiewicz 1950
Youna Jang 2013
Shirley Jaron 1981
Rhonda Jarrell 1983
Jane Peterson 1985
James Jewell 1944
Thomas Johns 1975
Alma Johnson 1966
Michelle Johnson 2012
Cyril Johnston 1960
Agnes Halsey Jones 1937
Kisma Jordan 2007
Jessica Julin 2009
Mary Margaret Jurik 1973
Lori Kana 1992
Joneva Kaplan 1984
Johann Karatzas 1956
Frank Karian 1943
Lise Karlsson 1976
Marianne Kehrli 1960
Gregory Keil 1997
Patrica Ann Kelby 1964
Ross Keller 1956
Kenneth Kellogg 2007
Ann Simon Kelly 1940
Jenny Lind Kelly 1985
Ann H. Kennedy 1978
Elizabeth Kennedy 1940
Margarita Kenny 1949
Vera Kerr 1947
Maryann Kerrick 1965
Leonard Keyser 1953
Jody Kidwell 1988
Elspeth Kincaid 2008
Hyoung Hyee Kim 1972
Museop Kim 2004
Ryu-Kyung Kim 2000
Takesha Meshé Kizart 2008
Jeffrey B. Kneebone 1985
Walter Knetlar 1960
Lloyd Knight 1947
Kim Kodes 1987
Kathryn Kreider 1948
Gladys Kriese 1961
Mary Kuder
Ryan Kuster 2011
Marianna Kulikova 1996
John Vincent LaBarge 1943
Steven LaBrie 2013
Katherine Lacie 1999
Christina Lamberti 1996
Basel Landia 1959
Melita Miculs Larvia 1974
Martha W. Lattimore 1970
John Lawler 1942
Alex Lawrence 2011
Pabalo Lecuona 1986
Kuwon Lee 2004
Su-Jin Lee 2000
Luis Ledesma 1998
Mabel Ledo 2002
Larry Leibensperger 1978
Kristin Leich 2005
Nancy Lenahan 1985
Melissa Lengua 1985
Anna Fortuna Leone 1945
Elixabeth Lettinger 1939
OkJa Lim 1972
Shirley Linford 1947
Ke-Qing Liu 1988
Gioacchino Lauro LiVigni 2003
Whitfield Lloyd 1945
Carol Day Lockwood 1962
Victor López 1989
Zulimar López 2009
Judith Lovat 1990
Carolyn D. Luce 1945
Carol Tracie Luck 2001
Mary Cross Lueders 1966
Michael F. Luisi 1977
James J. Lyons 1951
George Mackes 1977
Annabelle Mackey 1947
Michael Magiera 1978
Martha Magoun 1948
Deborah Maher 1966
John Malkasian 1968
Sydney Mancasola, 2014
Judy Mandell 1962
Alicia Maraslian 1969
Mary Jane Manegold 1947
Donald Marrapese 1968
Emily Martin 1998
Rosemaria Martinelli 1986
Wes Mason 2013
Nicholas Masters 2011
Shawn Mathey 2001
Robert Mattern 1985
Denise Mavroson, 1983
Alexandra Maximova, 2013
Nicholas Maxymuk 1953
Daniel and Lisa May 1993
Michael Mayfield 1990
Rita Mazurowski 1983
George W. McClellan 1956
Thomas McClelland 1956
Mary Emma
Welch McConaughey 1957
Mary Pat McConchie 1966
Marla McDaniels 1980
Mary Margaret McDonald 1986
K. James McDowell 1983
William McFarland 1975
Janet McGee 1963
William McGuffin 1966
Helen McKelvey 1942
Siphiwe McKenzie 1999
194 0 - 2 014
ALUMNI LIST
Adrienne McKeown 1993
John C. McLain 1975
Marie Erhardt McLaughlin
Rodney P. McWherter 1960
Betty J. McWilliams 1952
Angela Meade 2009
Fredda Rakusin Mendelson 1975
Louise Mendius 1991
Margaret Mezzacappa, 2013
Cary Michaels 1983
Melita Miculs Larvia 1974
John David Miles 2000
Dana Beth Miller 2003
Keith Miller 2006
Rodney Miller 1979
Jeremy Milner 2009
Joseph Charles Mitchell
Gulnara Mitzanova 2002
Daniel Mobbs 1993
Eunice Hurst Mobley 1959
Natalie Pakkanen Moeckel 1959
Elias Mokole 1990
Marilyn A. Moore 1985
Helen Moore 1946
Latonia Moore 2004
Chloe Moore, 2014
Sally Moore 1944
Sylvia Gwynn Moose 1956
Luciano del Moral 1970
Susan Gregorio Morehead 1980
Antonio Carlos Moreno 1996
Octavio Moreno 2008
James Morris 1971
Michael Morrow 1999
Salvatore Motisi 1973
Josephine Mozzani 1979
Margo Mulero 1977
Marylyn Mulvey 1968
Todd Munday 1984
William Murphy 1957
Maureen Murphy 1943
Gordon Barry Myers 1966
Cristina Nassif 2003
Euro Nava 1989
Stuart Neill 1995
Mildred Hill Nelson 1953
Nina Yoshida Nelsen 2009
Zachary Nelson 2013
Allan Nern 1936
Musa Ngqungwana, 2014
Jessie Nguenang, 2014
Helen Clark Nicholls 1944
Irene Nicolai 1967
Eva Nir 1960
Dae-San No 2002
Evelyn Maria Novotny 1945
Hallie Nowland 1940
Kathryn Nussbaum 1957
Edward Nyborg 1937
Sylvia Cooper O'Daniel 1969
Jonathan Oehler 1992
Gunnell Ohlson 1962
Dolores O'Lenik 1964
Gebeva Oliver 1955
Janice Olson 1955
Robert O'Neil 1988
Ida Ong 1985
Louise Onyett 1966
Rosemary Ostrowski 1988
John Packard 1994
Thomas Palmer 1955
William Palmerio 1979
Daniel Marc Pantano 1989
Betty Parker 1937
Melissa Parks 1996
Valfrido Patacchi 1947
Joseph Pate 1981
James Pease 1942
Richard Pendergraph 1983
Marguerite Pepin 1962
Ailyn Pérez 2006
José Adán Pérez 2008
Roland Petersen 1952
Frederick C. Petrich 1962
Nicole Piccolomini 2006
Gaye Pickre; 1966
Dolores H. Picnich 1977
José Pi as 1981
Virginia Piquette 1979
Ernestine Pirimian 1943
Bruce Pittney 1982
Damon Nestor Ploumis 1999
David Poleri 1946
Evelyn Pollock 2007
Maria C. Popescu 1987
Leonard Potter 1957
Deborah Powell 1989
Kara Powers 1992
Donna Precht 1962
Cynthia Przbyl 1989
Ralph Purvis 1957
Joseph Michael Quinn 1952
Victor Ramirez 1983
Edward O. Randall 1983
Susan Eichelberger Read 1974
Kenneithia M. Redden-Mitchell 1994
Dian LaDean Reed 1972
Robert Reim 1951
Elizabeth Lytle Reimer 1979
Michelle Reiner 1950
John Rejebian 1942
Christopher Remmel 2012
Joachim John Ribecchi 1956
Sharon Richards 1995
G. Lyle Richardson 1959
Anne Elise Richie 1989
Winnie Rickert 1977
Cassandra Riddle 1994
Heinz Riivald 1953
Blake Ritter 1942
Katherine Ritz 1983
Julien and Mary Ellen Robbins 1976
Lillian Roberts 2003
Marcia Roberts 1959
Frederick Robinson 1938
Alvin Martin Rogel 1965
Scott C. Rogers 1983
Marcia Rosenfield 1959
Fernando Rosenthal 1975
Gale V. Rothwell 1965
Christian Rougier 1987
Robert Rowland 1985
Loretta Rufo 1953
Valerian Ruminski 1999
Meredith Rung 1973
John Russell 1973
Maria Russo 1984
Ilene Ruttenberg 1982
Herbert H. Ruzansky
Waundell Saavedra 1994
Philip S. Salter 1978
Joseph Sanscrainte 1989
Tony De Almedia Santos 1975
Ariya Sawadivong 2008
Ordell Sawyer 1945
Corinne Schaefer 2010
Charles Schneeloch 1941
Amy Schroeder 1997
Seymour Schwartzman 1966
Bettina Schweiger 2012
Thomas P. Scurto-Davis 1997
Sara Seglem 1994
Thomas J. Serpico 1965
Carlos Serrano 1980
Elaine Shapiro 1979
Jane Shaulis 1969
Tina M. Sheaffer 1977
Jonathan Sidden 2002
Donwong Shin 2005
Young Ja Shin 1974
Graciela Silvain 1947
Marlene Silverstein 1972
Fredericka Silvey 1972
Richard Simmons 1975
Maureen Simpson 1979
Joy Simpson 1965
William Sinclair 1992
Manissh Singh 2001
Karl Sittler 1946
Carol Bergey Skarimbas 1957
David Small 1960
Leana Smit 1946
Elizabeth Collins Smith 1994
Daniel L. Smith 1989
Hugh Smith 1998
Norma Smith 1962
Doris Blake Snell 1942
Steven Snow 1993
Elaine Snyder Lindsey 1978
Bernice Sobel 1961
Marion Sobel 1951
Laurie Sondermeyer 1989
Kyung-Ja Song 1973
Oksana Sowiak 1955
Joseph Specter 2006
Barbara Webb Spriggs 1952
Elizabeth Gail Springan 1986
Irmtraut Spruenken 1970
Elizabeth St. Leger 1994
Cora Louise Stahlbird 1937
Jeffrey Stanislawczyk 2005
Gregory Stapp 1980
Patricia Hauke Staubo 1947
Taylor Stayton 2011
Hollie Lynn Stein 1981
Jean Stepanek 1950
Mary Stewart 1961
Noah Stewart 2008
Melinda B. Stern 1969
Madeline Stevenson 1958
Dean Stuart 1957
Cornelius Sullivan 1981
Ruth Ann Swenson 1982
Valentina Swierczynski 1953
Jason Switzer 2005
Michael Szczesniak 2006
Casey J. Taggart 1938
Sophie Taillefer 1998
Masanori Takahashi 2006
Assen Tarpoff 1937
Caroline Taylor 2000
Derek Taylor 2005
J. Charles Taylor 1989
Claire E. Theiss 1967
Lelia Thigpen 1967
Indra Thomas 2000
Todd Thomas 1987
Gilbert Thompson 1955
Ruth Thorp 1953
Thomas D. Tietjen 1968
Susan Tilton 1982
James Tisdale 1962
John Tomaselli 1980
Patrick Toomey 1986
Maila Traczyk 1997
Filomena Francesca Tritto 2006
Richard L. Troxell 1992
Louise Turner 1950
Mildred Tyree 1974
Heinz Ude 1959
Michael Vaccaro 1977
Grace M. Valdes 1994
James Valenti 2006
Dany Vallerand 2000
Amy Van Looy 2003
Noah Van Niel 2011
194 0 - 2 014
ALUMNI LIST
Victoria Vergara 1972
Joseph Verna 1962
Julio Sanchez Viamonte 1949
John Viscardi 2013
Gregory Mark Vorst 2000
Olivia Vote 2012
Ben Wager 2009
Alan Wagner 1972
Robert Wagner 1990
Alfred Walker 1997
Robert Wallace 1984
Amy Wallace-Styles 2003
Raymond Dean Walters 1977
Lillian Wayne 1989
Stephen West 1978
Caroline Whisnant 1991
Rebecca Lynn Whitlow 1992
Ethelwyn Whitmore 1952
Gabrielle Widman 1997
Roy A. Wilbur 1983
Roy Wilde 1959
Gwendolyn B. Willemann 1978
Chrystal E. Wiliams, 2014
Ruth Williams 1954
Steven A. Williams 1979
Suzanne Wilker Wilson 1953
Robin Diane Wilson 1982
Lisa Willson 1993)
Jonathan Winell 2009
Betty Bowen Wing 1974
Corinne Winters 2011
Fredreika Wisehart 1964
Raymond Wolansky 1951
Michael Lee Wolfe 1970
Beverly Wolff 1953
John Woodard 1973
Mary Louise Woodcock 1971
Mae O. Woodland 1958
C. Brian Woodward 1996
Robert E. Worst 1987
Youngbae Yang 2005
George Yarick 1957
Na Li Youm 2010
Carol York 1947
Gary Young 1973
Donna Yule 1962
Meredith Zara 1961
Sandra Zehr 1969
Monica Ziglar 1996
Eva Zodl 1957
Regina Zona 1997
Howell Zulick 1950

Application Brochure - Academy of Vocal Arts

Transcription

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